23m ·
Published
06 Jan 10:00
The pianistGlenn Gouldwas dogmatic about his recording setup, placing the microphone as close as possible to his piano to exclude the sound of the surrounding room. That is, until he encountered the music of Alexander Scriabin—Gould felt that no one acoustic could do justice to Scriabin’s mystical musical language, and devised a system of ‘sound cameras’ that could zoom into or zoom out of his piano. Gould’s ambitious ‘Acoustic Orchestrations’ experiment remained unfinished, however, until music professorPaul Thébergediscovered it in an archive and brought the project to completion.
29m ·
Published
06 Jan 10:00
In the 1950s, classical record producers were fixated on realism, aspiring to put listeners in the ‘best seat of an acoustically perfect hall.’ Not so for John Culshaw, however, a maverick producer who used new stereophonic technology to produce operas that were more dramatic, more spatially immersive and (so he claimed) more faithful to a composer’s intentions. Sonic highlights from Culshaw’s producing career accompany a reading from his two memoirs, ‘Ring Resounding’ and ‘Putting the Record Straight.’
23m ·
Published
06 Jan 09:00
The pianistGlenn Gouldwas dogmatic about his recording setup, placing the microphone as close as possible to his piano to exclude the sound of the surrounding room. That is, until he encountered the music of Alexander Scriabin—Gould felt that no one acoustic could do justice to Scriabin’s mystical musical language, and devised a system of ‘sound cameras’ that could zoom into or zoom out of his piano. Gould’s ambitious ‘Acoustic Orchestrations’ experiment remained unfinished, however, until music professorPaul Thébergediscovered it in an archive and brought the project to completion.
24m ·
Published
06 Jan 09:00
One day, while practicing the prelude to Bach’s Cello Suite #1, Yasuaki Shimizu accidentally ran his tenor saxophone through a reverb machine. The sound so moved him that he embarked on an odyssey to record each of the six Cello Suites in a different acoustical environment. In this piece, Shimizu takes us into a warehouse, a stone quarry, a mine, a concert hall, a Baroque villa and a Gothic palazzo, showing us how the unique acoustics of each site drew out the emotional nuances of each suite in Bach’s masterwork.
24m ·
Published
06 Jan 08:00
One day, while practicing the prelude to Bach’s Cello Suite #1, Yasuaki Shimizu accidentally ran his tenor saxophone through a reverb machine. The sound so moved him that he embarked on an odyssey to record each of the six Cello Suites in a different acoustical environment. In this piece, Shimizu takes us into a warehouse, a stone quarry, a mine, a concert hall, a Baroque villa and a Gothic palazzo, showing us how the unique acoustics of each site drew out the emotional nuances of each suite in Bach’s masterwork.
48m ·
Published
06 Jan 08:00
Bad acoustics inspired Daniel Neumann to become a composer and sound artist. After struggling to tame echoes, flutter and too much reverberation as a sound engineer at a nightclub in Leipzig, Daniel embraced these and other acoustical peculiarities and made them the focus of his work. In this piece, Neumann talks about how he uses sound to raise awareness of the idiosyncratic sounds of architectural spaces and plays us an iteration of his piece, ‘Free Field / Pressure Field / Diffuse Field’.
48m ·
Published
06 Jan 07:00
Bad acoustics inspired Daniel Neumann to become a composer and sound artist. After struggling to tame echoes, flutter and too much reverberation as a sound engineer at a nightclub in Leipzig, Daniel embraced these and other acoustical peculiarities and made them the focus of his work. In this piece, Neumann talks about how he uses sound to raise awareness of the idiosyncratic sounds of architectural spaces and plays us an iteration of his piece, ‘Free Field / Pressure Field / Diffuse Field’.
36m ·
Published
28 Mar 16:00
This piece addresses the term “Postmodernism” its history, legacy, and use within the discourse of architecture.
36m ·
Published
28 Mar 15:00
This piece addresses the term idea and practice of collecting as a current trope within architectural culture.
36m ·
Published
28 Mar 15:00
This piece addresses the term “Postmodernism” its history, legacy, and use within the discourse of architecture.
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